★★ Directed by Alexander Salazar Written by Gregory P. Wolk Starring Justin Lebrun, Martin Copping, and Sally McDonald Indie Film Review by Euan Franklin In any workplace, there’s always an arsehole at the top. Whenever power is given to humanity’s worst, an overwhelming sense of tyranny pervades the environment. Just look at Donald Trump, the greatest and most disturbing example of all time. But in the new indie from Alexander Salazar, the workers get their own back on the arsehole-in-charge. A Lesson in Cruelty follows Julian Hassole (Justin Lebrun), the head of Hassole Bank, as he walks through his days insulting everyone who works for him – from his assistant to the mailman. But his days are numbered when the degraded workers gather together and plan their vengeance to take the power for themselves… by murdering him. The most attractive aspect of A Lesson in Cruelty is its surrealism. Even though the humour is largely hit-or-miss (trying hard to be edgy), the intrigue is maintained by Gregory P. Wolk’s wacky screenplay. The opening credits sooth you into its strangeness, with Julian Hassole dancing (style: uncertain) through corridors and hallways with everyone watching and, eventually, joining in – similar to Steve Coogan’s intro in Alan Partridge: Alpha Papa. Unlike Partridge, this scene doesn’t have the same comedic effect, but does prepare us for the bizarre story to come. Julian’s workers plan their deceit for his birthday party, at which everyone is dressed in Roman togas and treat Julian as an emperor. A Caesar-like assassination takes place, which (somehow) leads to a satirical poke at the Trump administration. Wolk’s dark, surreal style – a mix of Luis Buñuel and Armando Iannucci – is entertaining and fits nicely with Julian’s egomania and epic self-delusions. But the film’s direction is never really established. We have no idea where it’s going, which is good in itself – but it ends up going nowhere, which is bad overall. The characters are written with a desire to be vaguely controversial, in the same way that shows like South Park wheel out a stereotype to challenge various prejudices. Wolk introduces an Orthodox Jew, a Russian blonde, a Chinese woman, and an African-American man to all fall victim to Julian’s ignorant humiliations. This does provide a few satirical chuckles, but we’ve seen these on-screen situations hundreds of times before. A Lesson in Cruelty doesn’t provide a new or interesting approach, believing that simply by showing prejudice it’ll be funny (in itself) to laugh at. The performances aren’t particularly good either, and often try too hard – like eager children in school plays – with Lebrun being the most potent example. His acting is too exaggerated, even for the cartoonish character he’s playing. However, he does provide moments of decent comic timing and Salazar makes sure he has a booming, unforgettable presence in the film. A Lesson in Cruelty has many inadequacies and, for a comedy, it’s not too funny either. But Wolk and Salazar excel in the absurd, plunging us into their weird imaginations. Watch the official movie trailer for A Lesson in Cruelty below... #alessonincruelty #AlexanderSalazar #GregoryPWolk #JustinLebrun #MartinCopping #SallyMcDonald #EuanFranklin #surrealism #BlackComedy #IndieFilmReviews #IndieFilms #MovieTrailers

Directed by Edward Lomas Starring Asheq Akhtar and Emma Peadon Short Film Review by Annie Vincent A tiny film with a big message, Benefits is a sad glimpse into how a dystopian world might treat benefits claimants and is a stark reminder of society’s prejudices and incessant need to label and hypothesise about those in need. Sat in booth 89134 (an indicator of just how many of these booths might exist), Adeel is attempting to claim a weekly benefit allowance having failed for the 200th week to secure a job, despite the numerous applications he has made. This week, from fifty applications, he has received zero callbacks or interviews and now requires a benefit payment. When his ‘data’ doesn’t meet the computerised booth’s expectations, he is placed in front of a less-than-qualified panel of taxpayers who will make the final decision about his benefit award. When he doesn’t admit to having a dog, children, and won’t sing a song, he is awarded just £50.00 and his account is docked the additional money it already had in it! He chooses to send this money to his child maintenance account rather than pay himself, and is left with just £2.10, until that is also used in the frustrating automated system he is forced to use each week. While short, this film packs a satirical punch and is incredibly thought-provoking. The script is sardonic and drips with disdain as a man, unable to explain himself to a computer which only recognises certain scenarios, is objectified and judged, by people who do not know him, with pity, nonchalance and contempt. Benefits forces its audience to rethink their own assumptions about benefit claimants and the scathing rhetoric that surrounds the issue in our culture – are we so very far from holding kangaroo courts to decide the fate of benefits claimants? Director Edward Lomas has done some excellent work here too, filming the entire film in close quarters. The booth is oppressive and squalid, the computer irritating and inhumane in its communication and the close camera work on Asheq Akhtar, the resigned but despairing claimant, is great, especially when it captures then faint smile and sparkling eye when our protagonist is presented with the choice of paying the benefits to either himself or his child. This is the very best kind of short film – well conceived, well shot and with something to say. Benefits is worth every second of its three minute run time. #ShortFilmReviews #ShortFilms #AnnieVincent #EdwardLomas #AsheqAkhtar #EmmaPeadon

★ Directed by The Spierig Brothers Starring Helen Mirren, Jason Clarke Film Review by Brian Degning The Winchester Mystery House in San Jose, California, is considered by many people as the most haunted house in North America. It was the former residence of Sarah Winchester, widower of firearm magnate William Winchester and heir to the companies’ massive fortune. After her husband’s death, she used her wealth to continually build many elaborate rooms and extensions which she believed housed the spirits of everyone killed by one of her companies’ weapons. Until her death in 1922 construction continued almost nonstop to give, she believed, the spirits of those gunned down a place to rest. If that is not a killer premise for a horror film, I do not know what is. Add to that the casting of the great Helen Mirren, with support of the always engaging Jason Clarke, and this had all that was needed to be a great horror classic. Unfortunately, like a good meal, having all the right ingredients doesn’t do any good if you can’t cook and herein lies the problem with Winchester. Almost from the off jump-scares are the order of the day and, like every attempt at frights, they are served often and undercooked. In the right hands this may not have been the worst thing, James Wan of the ‘Insidious’ franchises manage to make the jump scares in his movies earned and as such effective but here the Spierig Brothers, fresh off the back of the ‘Jigsaw’ reboot, seem to think that a loud noise and a random extra in makeup is what counts as horror. In fact, the entire film is a wide buffet of almost every horror cliché imaginable; ghosts in the reflection of a mirror, a scary child, creaking doors, the house shaking at random etc. Now if these were executed well then there is every chance this could have made for a self-aware, fun haunted house flick. Instead the film takes itself very seriously which, ironically enough, makes its attempts at scares laughable. Helen Mirren is also wasted, her character could have been layered, haunting, mysterious and charming, a woman unsure if the ghosts of her past are real or imagined but, in the hands of these filmmakers, what we get is a one-dimensional exposition machine who is unable to add anything other than distant looks and the occasional jerking movement to a paper-thin script. Jason Clarke suffers from the poor script as well, although he manages to at least make his character likeable and flawed. The supporting characters in the film have even less to do and it feels at times like they are simply there to be thrown, frightened or possessed for a very cheap attempt at a scare. The only positives to take from the film are that the production design is very nice to look at as is some of the imagery but, again, this is undercut by jarring editing and some unusual framing. The pacing is also poor and at times feels like you are watching the same scenes over and over without getting anywhere. Possibly the worst crime this film commits is in its ending which, without spoiling anything, manage to undermine any of the themes or messages the film, very ham fistedly, tries to put forward. It is an infuriating experience as somewhere in here are the bones of an interesting film. Grief, loss and the introduction of guns into modern conflict are all things that should have been forefront of the drama, instead they are brushed aside in favor of cheap scares and a ridiculous ending. #FilmReviews #TheatricalReleases #BrianDegning #Horror #1Star #HelenMirren #TheSpierigBrothers #JasonClarke

Written and Directed by Sam Saffold Starring Daniel J. Layton, Francesca Louise White, Cael King, Rebecca Day, Guy Larsen, Sophie Wyatt, & Ashley Russell Short Film Review by Chris Olson Short mystery thriller A Welcoming Place is a fluid and compelling journey through loss and grief, cocooned in a sci-fi shell that plays on themes of isolation, otherness, and man’s struggle to be anything other than fearful towards the different. Struggling to cope in the aftermath of his father's passing, Phillip (Daniel J. Layton) decides to venture to a house his dad had secreted away in the countryside. After a less than simple journey, Phillip is perturbed to find that the house is already occupied. Greeting him with a warm welcome, Phillip quickly becomes suspicious of Nina (Francesca Louise White) and her nineteen-lumps-of-sugar-in-his-tea partner Terrance (Cael King), who immediately have an air of Invasion of the Body Snatchers about them. The tension is amped up further when Philip's sister Sophie (Rebecca Day) arrives, and when she finds Phillip ragefully bludgeoning the garden lawn in the middle of the night. When watching A Welcoming Place, audiences will be immediately drawn into the suspenseful atmosphere which is built upon throughout the short, through the use of intelligent dialogue, elusive camerawork, and believable performances. As the tone of the movie sweeps the viewer away, they will be completely unprepared for the thematic depth which rises like a spectre in the shadows, creating a cinematic experience that is immensely thrilling and thought-provoking. Writer and director Sam Saffold has not reinvented the wheel here, and does indeed borrow elements from all kinds of genres and storytellers, but like a great chef, he uses the same ingredients to prepare something that is ultimately fresh, hugely enjoyable, and a modern take on classic dish. His use of family is particular excellent, allowing the ghost of Phillip's father to play an integral role in the emotional conflict of the central character, as well as on Sophie, and the plot as a whole. The performances are excellent, with Layton turning in a varied and subtle turn as the main player. White is totally engaging as Nina, in particular a scene in the local pub (where no one goes and if they do they certainly don't buy a drink). Day offers a nice injection of change and alertness to the short with her introduction. The most notable performance, though, is King who is tremendously compelling as the mysterious house guest and host. Overall, a well executed and intelligent short that utilises excellent cinematography, performances, and themes to create something different and interesting...things which we should never fear. #ShortFilmReviews #ShortFilms #ChrisOlson #Mystery #Thriller #SciFi #SamSaffold #DanielJLayton #FrancescaLouiseWhite #CaelKing #RebeccaDay #GuyLarsen #SophieWyatt #AshleyRussell

★★★ Directed by Deniz Demirer and Daniel Kremer Starring Deniz Demirer, Daniel Kremer, Rob Nilsson, Kris Caltagirone Indie Film Review by Jack Bottomley “What is your fight”? This is one question posed at a pivotal point in writers/directors Deniz Demirer and Daniel Kremer’s film Ezer Kenegdo, a movie that tackles many heavy ideas and fiery matters beneath a documentary-style approach. Opening with a Talmud Bavli quote, it is clear from the offset that this is a work deeply rooted in the faith it presents, the film feels personal and heartfelt and, as such, is a difficult picture to review. For many viewers so much will ring true: the presentation of the culture, the conflicts stemming from the historical and the contemporary and the devastating personal toll that comes with finding/accepting your identity. However, many other onlookers may well be left a touch confused by a film that has no real answers, as it is really more concerned with posing the questions than resolving them. The film stars Daniel Kremer as Yisroel “Izzy” Jonigkeyt, a Chassidic Jew that travels to meet his Polish friend Marek Wisniewski (Deniz Demirer) in San Francisco, in order to travel to meet artist Harry Kierk (Rob Nilsson) for an interview, as the artist is about to destroy all his life’s work. But tensions between these friends begin to form, as the two’s journey to discover why Harry is doing this, soon becomes a journey of seeking what and whom they are? As previously stated, this is a personal work that challenges historical events and modern day turmoils, as it shows how simmering tensions can fuel cultural division...even amongst friends. The pace is very slow, with the 1 hour and a half running length feeling almost double that, as the film methodically - with its echoing Jewish soundtrack and the guerrilla style camerawork at points - casting an eye on Jewish tradition before feeling to become a fly-on-the-wall-esque realistic insight into two friends becoming opposed by their teachings. Throughout production the ending was apparently changed multiple times and the style was a challenge to bring to the screen slickly and indeed, there is much confusion at points, as the film jumps around structurally and a few edits leave you momentarily lost as to what point you are at in time. Also, Ezer Kenegdo’s personal nature does occasionally leave the viewer feeling intrusive as opposed to involved but when Demirer and Kremer come to finally allow their characters tensions to fizz over, the film becomes clearer and more focused. In fact, thematically, the movie conjures some very compelling arguments that are hugely relevant to the modern day climate and which also harness past historical injustices and show how they still reverberate throughout cultures, families and friends all these years on. Horrific history truly lingers the most strongly. The characters feel believable, with Kremer and Demirer being the best of the bunch and capturing these two friends and their inner worries, confusion and conflict. While Rob Nilsson is also impactful as Harry and Kris Caltagirone is effective - if infuriating - as Marek’s cousin. Perhaps another viewer will uncover even more depths from this piece of work than I did and even now, after watching it, I am certain there is more to find out about these characters, these filmmakers and these themes. Ezer Kenegdo is not a film to all tastes but it is an interestingly made feature about some very heavy and uneasily answered debates. Watch the official movie trailer for Ezer Kenegdo below... #Drama #Religious #DenizDemirer #DanielKremer #IndieFilmReviews #IndieFilms #JackBottomley #MovieTrailers

Directed by Jon James Smith Starring Kathryn Leeman, Ron McMahon, and Richard Shelton Short Film Review by Owen Herman Written and directed by Jon James Smith, Do Not Disturb is a taut and tense thriller that attempts to confuse and surprise the audience at every possible moment. This goal is certainly not an easy one, but this short achieves it spectacularly. The story begins with a husband calling his wife and lying to her about staying late at work. Your initial expectations of this setup are immediately thrown out the window as the plot navigates through as many twists and turns as it can through its fourteen-minute runtime (spoiler, it’s a lot). Seemingly every scene is a twist that dramatically shifts your opinions and predictions of the plot. Every line of dialogue, camera movement, or cut could potentially reveal new and astonishing information. Every sudden storyshift also leads to subtle, but clever, change in genre. Elements of horror seep in early on, before a detective murder mystery takes over. On the IMDB page for Do Not Disturb it references both Hitchcock and Fincher, and both influences are easy to see; the suspenseful and twisting tale feels very Hitchcock, while Fincher clearly inspires the style and visuals. Despite the constant plot twists, the short manages to remain simple in its storytelling and never gets convoluted or confusing. Because of this it is always clear what’s going on, so the viewer can remain invested in the story. This also helps stop the short feeling too gimmicky, it could have easily felt like an exercise as opposed to a fully fleshed out film. It is a perfect example of how to reveal the exact amount of information in a scene needed for the scene to work; there is never too much going on to distract and there is always just enough to keep the mystery going. The short film also feels very professional, perhaps because of its clear influences. The cinematography is smart, the editing is smooth, and all the performances are solid, with Kathryn Leeman being the stand-out. Do Not Disturb takes classic thriller tropes and uses them to construct a clever, but still familiar, film. The suspenseful music, dark tone, themes of lies and deception, and untrustworthy characters are all inspired by other films of the genre, leading to a sense of familiarity. However, it is because of this familiarity that the twists can subvert your expectations and ultimately shock you. #ShortFilmReviews #ShortFilms #OwenHerman #JonJamesSmith #KathrynLeeman #RonMcMahon #RichardShelton

Directed by Tom Lee Rutter Starring Sarah L Page, Lee Mark Jones, James Underwood, Traci Templar and voiced by ‘Tatty’ Dave Jones Short Film Review by Annie Vincent Back in 1942, in the grounds of Hagley Hall in the Black Country, four young boys found a skeleton, later discovered to be female, inside a wych elm tree trunk. An investigation was launched to find out who the victim was and how she had met her horrible end, but little concrete conclusions could be drawn. Short film Bella in the Wych Elm by Tom Lee Rutter is a phantasmagoric examination of what was known and how the death impacted on several lives. The story itself is interesting and this isn’t the first time it has been explored in film. Laced with folklore superstitions, rumours of witchcraft and Nazi espionage, it is perfect film fodder. Here, Rutter has excelled in his filming choices, capturing the story but also that mystical nature of the case through some silent film hallmarks, a yokel story-teller and some frankly disturbing incidental music. The choice to have silent action is quite effective, especially when captured in black and white grain shots, with the odd light flash and the blurry lens framing we associate with old movies. A lack of colour is certainly a great choice in creating a haunting atmosphere on screen. There is some excellent close camera-work, though in places the use of a handheld camera is quite jerky and a little off-putting for viewers. Throughout, folky instrumentals are played which sometimes create a disturbingly upbeat contrast to the reality of the action, but again, this is haunting. However, as Bella in the Wych Elm progresses the use of some of these techniques begins to wear a little thin. After a particularly good jump scene early on, there is little else to wrack the nerves in this murder mystery and the yokel storyteller becomes so monotone you begin to care less and less about the identity of this woman. It shouldn’t be that way. This film has everything to make it entertaining and memorable, but in being told every minute detail of the case, with nothing left for us to ponder or puzzle out for ourselves, it becomes quite a dull story, despite all the connections to witchcraft and espionage. The film ends by suggesting that the woman and the circumstances surrounding her death remain a mystery, except they don’t really, because there is a lead, corroborated by more than one source, which establishes who she probably was and it sort of feels like a last clutch at keeping the story interesting, when the interest was sucked out a little before. In premise and in shooting, Bella in the Wych Elm is a great film – who can fail to be charmed by the old silent film style and a juicy local legend? But in script and delivery, something is amiss and audiences may come away less intrigued than they arrived. #ShortFilmReviews #ShortFilms #AnnieVincent #TomLeeRutter #SarahLPage #LeeMarkJones #JamesUnderwood #TraciTemplar #39Tatty39DaveJones

Directed by Albert M Chan and Anthony Grasso Starring Albert M Chan, Mary Niederkorn and Andrew Chan Possemato Short Film Review by Rachel Pullen Have you ever watched those videos on YouTube where people tell stories about their life or just talk about how important they think their opinions are, yeah you know the ones. I have always found them rather boring; why would you just want to watch someone staring at the camera chatting away; well of course it’s not about the image on the screen, it’s about the content, about the story, that’s what’s keeping you interested. Short film Welcome to the World is just that, it’s one man and his camera, telling his tale to an audience that is just one person in particular...his sister who is in labour. We start by thinking maybe he is making a video for his sister’s future child, something to watch when he or she is older to get an idea of what life was like on the day of their birth, but that’s not the case at all, this is his video version of a suicide note. Leading man Albert M. Chan, who also wrote, directed and produced this short [what a busy bee he is!], plays an emotionally raw man with a grace and ease that is often only seen within some of the most high end actors, it’s very easy to become 100% invested in the believability of his pain and his torment as he bares his soul for us all to see. Not for one moment do we lose interest in his tale, Chan gives us just enough information about his life story to keep us compelled but does not go into detail that may make the audience lose interest, a tactic that some of these ‘’YouTubers’’ could take note of, the story does not come from layers and layer of details and back story, it’s delivered hard and fast and still has the desired emotional impact. Choice of costume and environment are not overlooked either within this short, Chan uses the colour theme of grey to create a believable bleak environment, we get a real sense of the isolation the leading man has been victim of, his loneliness is scattered around the room, allowing the viewer an insight into his lifestyle. This short film packs a huge punch, I’m not one to be easily moved by film or TV but I certainly could of shed a tear or two during Welcome to the World if I wasn’t such an emotionally void robot, and to create such an impact on a viewer in only seven minutes with just one man, a script and a camera certainly speaks volumes of the skills that Chan has as a director, writer and performer, Chan is the definition of a triple threat. #ShortFilmReviews #ShortFilms #RachelPullen #AlbertMChan #AnthonyGrasso #MaryNiederkorn #AndrewChanPossemato

Directed by Fred Cavender Starring Wyatt Reeves, Chris Assheton-Blair, Bess Davies, and Rob Lawrence Short Film Review by Owen Herman The opening shots of The Redemption Act set up a mystery. An extreme act of violence committed by one enraged man on another as a woman watches on in horror poses many questions. These questions are answered surprisingly quickly as the short takes this seemingly simple set up and turns into something you really don’t see coming. The violent act is revisited again and again, in Groundhog Day fashion, until the complete truth is revealed. Thanks to clever editing and the ever-evolving mystery, the fact that The Redemption Act is basically built around a singular scene becomes engaging, instead of being repetitive. Each new camera angle invites exploration into something that could be different, yet the Black Mirror style finale is completely unpredictable. Once the truth is revealed, it becomes apparent that the ideas behind this short are clever and brilliantly executed. The performances are great across the board, as is the writing, although there is not much room for either due to the repeated dialogue. The characters themselves aren’t given any real depth and most questions about their actions are never answered. Although this fits into the set-up, it doesn’t give the viewer a chance to fully engage with any of these people. Tony Rainy’s original score is terrific, and really gets a chance to change and build. The visuals, however, cannot match the sound. The colour palette is bland, and no shot ever really pops out to the viewer. The closing moments could have really done with some visual distinction to truly mark the reveal. The Redemption Act leaves the viewer thinking, both about the ideas it poses, and the final destiny of the main character. The themes and ideas behind the short are intelligent and their execution is well thought through. Its engaging nature keeps the mystery alive, and it never falls down into predictability. Watch this short film for free or see more on the UK Film Channel for even more free short films... #ShortFilmReviews #ShortFilms #OwenHerman #FredCavender #WyattReeves #ChrisAsshetonBlair #RobLawrence #BessDavies #UKFilmChannel

Directed by Fred Cavender Starring Mark Chapman, Ingrid Bakewell, Chris Assheton-Blair and Mark Denieffe Short Film Review by Annie Vincent The latest offering from Tuperhero Films has landed and this time it's a comedy. This is slightly less well trodden territory for Fred Cavender, following success with several sci-fi and horror style shorts, including The Damned and Unique, and Day Shift is, sadly, less impressive. Whilst The Damned and Unique were commended for their generic conventions and the manipulation of those classic ideas, a principle Day Shift is still founded upon, it hasn't worked quite as well in this instance. There is some mild amusement and certainly the cinematography and characterisation is of note, but this film won't illicit much more than a few chuckles and certainly not the belly laughs we might expect. It is an enjoyable watch though. It is light-hearted, doesn’t take itself too seriously, and the writing is good enough to move you to irritation if nothing else. Our protagonist, a pedantic barman hell-bent on following rules and having everything run by the alarm on his watch, completely fails to notice that he has three criminals in his bar. They are hiding from the police, who are still combing the area for them, while they await another getaway driver after the first’s car breaks down. But is our barman as stupid as he seems? Played by Mark Chapman, the barman is exceptionally irksome and only a good actor could pull that off in such small ways. It’s the blank face; the apathetic movements; the slow pace, which only steps up a gear if an alarm sounds; the inane pointing to signs which he refuses to draw people's’ attention to. I imagine audience members will have a range of reactions to this character: you’ll either totally support him and chuckle along as he mercilessly annoys everyone he comes into contact with (FYI: this means you are a pedant), or you’ll want to throw something through your screen at him. The good writing can also be seen at the end of the film which delivers a good twist and not one all will anticipate. The comic hallmarks of the calamitous criminal trio and the slightly slow policeman come together nicely and there is a little sense that the game might be up through the film too, which keeps the audience on their toes. Little accents like the signage in the bar, the rocky backing tracks and the news bulletin revealing the criminals’ identities are also well integrated into this fun and well-polished short. If you’ve enjoyed the other films from Cavender recently, you may consider Day Shift a departure from his usual form, but it is still worth the viewing time. A free short film on the UK Film Channel, enjoy Day Shift in full below... #ShortFilmReviews #ShortFilms #AnnieVincent #FredCavender #MarkChapman #IngridBakewell #ChrisAsshetonBlair #MarkDenieffe #UKFilmChannel

Directed by Alastair Gourlay Written by Emilio Iasiello and Alastair Gourlay Starring Clive Russell and Scott Reid Short Film Review by Euan Franklin It’s always fun to watch established genres twisted by British filmmakers. Although Westerns and gangster pictures are universal, they can’t escape their popular origins in Hollywood. The acclaimed director Shane Meadows even threw his own spin on the Western genre with Dead Men’s Shoes, made with a social-realist tone. Director Alastair Gourlay has attempted the same with his short film Between a Rock and a Hard Place, snatching scraps of noir and Western and planting them in a desolate part of Scotland. Neil (Scott Reid) is released from prison after serving 15 years for murder, committed when he was a teenager, and can’t find any work for himself. While attempting to steal some roof tiles, he is caught by the house’s owner Walter (Clive Russell). He takes pity on Neil, and gives him a job maintaining his house while he’s away. Neil’s happy to do it, but becomes suspicious about what Walter does for a living. Walter is a old, craggy figure who holds big weapons and disconcerting silences, but possesses a loving heart under a hard shell. And, despite being a murderer, Neil also has a deep emotional core. Their relationship is like watching a more heartfelt version of an Irvine Welsh story. The action is constricted to the house – empty, desolate, outside of civilisation – and a little village where Walter receives mysterious calls from an old phonebox. This atmosphere, shrouded in secrets, initially carries our interest in the characters’ purgatorial surroundings. But once the plot comes in, the twists are easy to establish long before they happen on-screen. Gourlay and co-writer Emilio Iasiello spend half-an-hour exploring these characters – you connect with them and the feelings they keep hidden inside – but builds to an annoyingly long final scene, filled with exposition explaining pretty much everything. Although the backstory is well-constructed and engaging, it’s like a bombardment. As the title suggests, the dialogue is bloated with clichés that the film expects you to take seriously – the final line, in particular (“we’re all caught between a rock and a hard place”), is a dull note to end on – especially after the enormous amount of conflict preceding it. Gourlay almost gets away with these faults because of his eloquent direction and the moments in the dialogue that are well-written. He maintains a natural, patient pacing, retaining a nice realism between the characters (slightly swayed by the clichés). Reid and Russell work well together, both providing appropriate peformances for their restricted characters – which inevitably explode in emotion. Between a Rock and a Hard Place is a hard, bleak tale of memory and revenge, but doesn’t hide many surprises. Gourlay and Iasiello clearly have an emotional understanding of their characters, but the plot was weak and obvious. You watch for the characters and not the story. #EuanFranklin #BetweenaRockandaHardPlace #AlastairGourlay #EmilioIasiello #CliveRussell #ScottReid #UKFilmReview #Revenge #Memory #Scotland #ShortFilmReviews #ShortFilms

★ Written and Directed by Lisa Mikitarian Cinematography by David Doko Starring Darren Barzegar, Connie Lamothe, and Nick Nerangis Indie Film Review by Euan Franklin When a movie promotes with its inspirations, you know it’s in trouble. It’s telling us to understand that first, so you can enjoy this. In the debut feature from Lisa Mikitarian, the synopsis for Spent describes itself as a “creative piece of farce Noir/Dark Comedy that hearkens back to the golden era of 1940s filmmaking”. I’ve enjoyed watching these types of movies (vaguely referenced), but they couldn’t aid my displeasure of watching Spent. Nothing could. Husband and father Herbert J. Schumacher (Nick Nerangis) is in the hospital, suffering from a brain tumour – and his family couldn’t be happier. His wife Evelyn (Connie Lamothe) and their son Lonnie (Darren Barzegar) spend Herb’s savings, intended for his “golden years”, and can’t wait to spend it all. But when Herb miraculously recovers, mother and son become desperate. The story is initially intriguing and promises a comic, Coen-esque neo-noir with a dark subject-matter interlaced with humour. And we’re tricked again with the quality of the set-design, which briefly dazzles our eyes – hoping to cover up what’s to follow. But within ten minutes, you know you’re in for an unbearable experience. Mikitarian has written and directed Spent, revealing her weaknesses in both areas. Her dialogue is ridiculous and boring, with lines such as “having tasted of you, Gregory, of love…” and “look at this temperate morning we have!”, written as if by gunpoint. Even worse, Mikitarian directs her actors as if their characters were cheap robots, as if the script is littered with dashes after every word. After the monotonous dialogue, the lifeless direction, and David Doko’s imperfect cinematography, the actors are the only ones left who could save the film. But they can’t. There’s a good effort from Nerangis, who enters as a cartoon with a stupid laugh, but ends being the most entertaining part of the film. But the other actors perform, as if deliberately, with no charisma or sense of their characters, and constantly crumble when trying to remember their lines. And the mediocre editing makes everybody look even stupider. There are also many amateur inadequacies littered throughout the film – most noticeably the props, which would be embarrassing for a school play, never mind a feature film. We are treated with flip-phones made of plastic, toy rats pretending to be real, and clunky, dystopian computers straight out of an old B-movie. And within this forest of mediocrity, Mikitarian tries to show her aesthetic flair by arbitrarily switching from colour into black-and-white without any narrative purpose – a vivid display of being bored in the editing room. Spent has a fun concept, but its execution is dire and embarrassing. It’s a product from people who have little knowledge or experience in making movies, reaching Birdemic proportions. If you endure this movie, you will feel utterly spent. Watch the official Movie Trailer for Spent below... #EuanFranklin #Spent #LisaMikitarian #NickNerangis #ConnieLamothe #DarrenBarzegar #DavidDoko #Noir #BlackComedy #IndieFilmReviews #IndieFilms